Susanbuckmorss.info Website Review

Distinguished Professor of Political Philosophy at the CUNY Graduate Center, NYC, where she is a core faculty member of the Committee on Globalization and Social Change. She is Professor Emeritus in the Government Department of Cornell University, Ithaca, NY. Her training is in Continental Theory, specifically, German Critical Philosophy and the Frankfurt School. Her work crosses disciplines, including Art History, Architecture, Comparative Literature, Cultural Studies, German Studies, Philosophy, History, and Visual Culture. She is currently writing on the philosophy of history: History as the Cosmology of Modernity. I am grateful to Joan Sage for her help with the photographs for this piece. Walter Benjamin’s essay “The Work of Art in the Age of Mechanical Reproduction”1 is generally taken to be an affirmation of mas* culture and of the new technologies through which it is disseminated. And rightly so. Benjamin praises the cognitive, hence political, potential of technologically mediated cultural experience (film is particularly privileged).2 Yet the closing section of this 1936 essay reverses the optimistic tone. It sounds a warning. Fascism is a “violation of the technical apparatus” that parallels fascism’s violent “attempt to organize the newly proletarianized mas*es”-not by giving them their due, but by “allowing them to express themselves.”3 “The logical result of Fascism is the introduction of aesthetics into political life.”4 Benjamin seldom makes sweeping condemnations, but here he states categorically: “All efforts to render politics aesthetic culminate in one thing: war.”5 He is writing during the early period of fascist military adventurism-Italy’s colonial war in Ethiopia, Germany’s intervention in the Spanish Civil War. Yet Benjamin recognizes that the aesthetic justification of this policy was already in place at the century’s start. It was the Futurists who, just before World War I, first articulated the cult of warfare as a form of